![]() It really doesn’t feel connected to the previous games. Bayonetta 3, however, is a vaguely scifi-ish multiverse adventure where the enemies are manmade creatures. It’s heavily based on early Christian mythology with a smattering of pop culture references going back centuries. You’ve got trips to Inferno, Paradiso, etc. Previous Bayonetta games are basically sexy, shooty takes on The Divine Comedy. Bayonetta 3’s tone and content don’t exactly line up with the rest of the series. Like I said, the enemy design issues are symptomatic of deeper issues with the game. They don’t have a sinister, machine-like inorganic nature to them nor do they have the Angels’ repugnant organic element to them. I have no idea what the Homunculi are meant to look like. I can understand when a black horse that looks like a Gothic freight train with a sword sticking out of its face jumps out at me that this is meant to invoke demonic imagery. ![]() Another part is that the enemies are designed with the Demon Slave powers in mind, so some of them are too big to get a proper look at them on the screen.Īnd maybe I’m being too picky here, but what are these creatures meant to reference? You’ve got a million different variations of them, but I’m not clear on what, exactly, their design is meant to invoke. Part of the problem is that the Switch can barely handle Bayonetta 3’s graphics, and handheld mode is especially muddy in that regard. When you’re far enough away, it’s difficult to tell them apart and customize your kit as needed. The designers doggedly stuck to the teal/white/silver color palette for every single enemy. In Bayonetta 3, almost all of the Homunculi look the same. Grace and Glory play differently from the tiny Affinity angels, which are different from the Dear and Decorations, etc. Beyond the aesthetics, you have several different enemy types, all of which are visually distinct and have radically different play-styles. Aesthetically, they draw on older influences: The angels combine the beautiful colors and cherubic stylings of classical artwork with the terrifying imagery of old Abrahamic texts. These are usually one of the biggest draws of the franchise. What to not love in Bayonetta 3 (it’s not much)īayonetta 3 has one big problem, which is perhaps a symptom of a few smaller problems: I hate the enemy design. ![]() When I’ve had this much fun, I’m not going to let one final wimpy flute solo ruin the entire concert for me. But the game’s extended romp across various locations and time periods more than makes up for its lackluster finish. I wasn’t a fan of the ending, and the game vastly overestimates how much I give a damn about the character Luka. I’m not going to complain about the weaker parts of story - I feel that others have already done so, and better. If Bayonetta is great by herself, more Bayonettas can only improve the formula. J-Pop Bayonetta, French thief Bayonetta, warchief Bayonetta - all are amazing. These sequences are brilliant, if only because it feels like we’re finally getting to see the Bayonettas that otherwise would just exist as sketches in an artbook. But the major hook is about Bayonetta travelling to other timelines and meeting different versions of herself. Jeanne gets her own levels in Bayonetta 3.Īs for the story … well, it’s not my favorite out of the series, if only because its tone is all over the place. Her character design also grew on me after a while. While Viola’s not above a little whining, she does have her own skillset, distinct from Bayonetta’s, which was fun to play on its own. I was ready to dismiss her as this game’s Loki, a new “little one” to snottily whine at Bayonetta whenever she comes in clutch to save them. Viola, the new playable character, turns out to be a much more competent and interesting character than she seems on first glance. I only wish the game had more of these levels - or heck, give Jeanne her own spin-off title. It reminds me of the first game’s Space Harrier levels, in that it’s a fun gameplay switch that feels like someone’s homage to their favorite game. No, she actually has her own 2D stealth-action settings where she’s infiltrating. Jeanne returns and, in a major switch, her sections are not thinly-veiled reskins of Bayonetta’s own levels. It adds yet another layer of spectacle and strategy to the already-complex combat system. With Demon Slave, she pulls said demons from Inferno to fight her enemies directly, the logical endpoint of her climax abilities. ![]() Demon Masquerade replaces Bayonetta’s Wicked Weaves with her directly channeling her demon familiars for a handful of new powers and combos. The most important new abilities are Demon Masquerade and Demon Slave. Register Here Bayonetta’s sassy attitude arrives intact.
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